Best 357 quotes in «narrative quotes» category

If you can work a brand successfully into the narrative of your product, then it's really cool. Then people actually take the brand up and say, 'My positive experience in your product is directly connected and influenced by this brand and that worked great.

If you do weave one-liners into a story, you have to have an overall story as well, otherwise it doesn't really count as narrative.

If you just read the book, you're taking in the narrative, you're taking in the characters, you're understanding it in a certain way. If you make a movie it's really an act of translation.

If you read many contemporary literary novels today, you may notice that regardless of the subject matter there's a 'sameness' about them, the way in which thoughts are expressed and ideas, conveyed, the sometimes dogmatic application of what are, at best, useful maxims such as, 'less is more', the narrative techniques utilised, even the same, irritating, stylistic devices scattered like pepper all over the pages.

If you're not [Federico] Fellini you might make something very vulgar. Animation made it possible to maintain unity with all these different narratives.

Ignore the trade-pub narratives about how little success indies enjoy.

I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.

I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare's sonnets.

[I have a] way of making narrative sculpture, where first you make a text and out of that text you make objects. [...] I start with a story and then I make sculpture from that story, it's just that the stories become more and more elaborate.

I have this natural thing in my head that when I sit down to write something serious, I tend to make jokes. I can't help it. I can't help but desire for the narrative to be as complicated and as truthful as possible. That's just the way my head works.

I just don't see myself as the heroine in my own narrative.

I learned there's an amazing unexplored territory in terms of narrative. Before, I thought the unexplored territory was the form, the way you shoot a movie. Now, I'm learning about the beautiful marriage between form and narrative.

I love the Russian absurdists - [Nikolai] Gogol,[Daniil] Kharms, and [Vladimir] Bulgakov. Even within the Russian experimentalists, there's a lineage of traditional narrative, conflict, and character development, which I find vital to my storytelling.

I like a narrative, even if it's fractured, or kind of psychedelic. But my favorite thing is if I hear words and I close my eyes and the connotations or the image I get in my head, combine with the sound of them - sometimes phonetics. I'm just stringing those together.

I like narrative storytelling as being part of a tradition, a folk tradition.

I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.

I'm a little bit too obsessed with the news. I find the news easier to follow than narrative entertainment programs.

I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.

I'm fascinated by the narrative of geology, and I'm a veritable pack rat of a collector on the road. I keep a rock hammer in my car.

I'm Godless. I've had to make my God, and my God is narrative filmmaking

I'm glad that Jewish kids are taught about the Holocaust and other stories in our history, but I wonder if there are ways that this information and narrative can be transmitted differently.

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.

I'm interested in the possibility of fiction which straddles narrative and essay.

I'm not great at fear. I made the least frightening vampire show ever on TV. I'm pretty much good at heroic narratives and making people laugh, and that's pretty much it.

I'm not sure any narrative model has been more important for me than Benjamin Britten's chamber operas.

In addition to encouraging us to participate in narratives of "deservingness" that cast large parts of our constituencies as "undeserving," legal reform strategies encourage us to valorize harmful systems that our movements should be seeking to dismantle.

I'm one of those apocalyptics. From the start of my immigrant days, I've been fascinated by end-of-the-world stories, by outbreak narratives, and always wanted to set a world-ender on Hispaniola.

I'm quite interested in the absolute roots of narrative, why we tell stories at all: where the monsters come from.

I'm wondering if the Roger Ailes scandal in which more than 20 women have come forward accusing him of sexual harassment is going to affect that narrative that's directed against Hillary [Clinton] and her husband pertaining to his infidelities.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.

In law school they teach you that everything is a contract; well, in poetry everything is a narrative.

In narrative films, you set up reality, so you can limit the variables. You don't have that luxury with docs.

In every debate, whatever the format, whatever the questions, there is one and only one way to identify the winner: Who commands the room? Who drives the narrative? Who is in charge?

Instead, I was interested in what I guess I could call narrative indeterminacy, in questioning the apparent, taken-for-granted authority of any particular representation of the events in question.

In the digital universe, our personal history and its sense of narrative is succeeded by our social networking profile - a snapshot of the current moment. The information itself - our social graph of friends and likes - is a product being sold to market researchers in order to better predict and guide our futures.

In "Twilight," the narratives are more literal, and the event is much more spectacular. The pictures in "Beneath the Roses" are much more psychological and grounded in reality.

I really admire the experimentalists who challenge traditional narrative - writers like Ishmael Reed, Michael Martone, Donald Barthelme, Tatyana Tolstaya, George Saunders, and many others.

I obviously read and adore traditional fiction. I teach traditional fiction, I also teach all kind of not-so-traditional fiction. And since I'm such a plot buff, and I'm really such a narrative buff, I can't seem to relinquish my - not just reliance - but excitement about those traditional techniques.

I think in a larger sense, immigrant narrative is comprehensive and speaks to the core of human experience.

I see TV as a picture medium rather than a narrative medium.

I sort of feel like that's the most revolutionary thing we can do with our narrative for me as Black people is to show that we are just like you.

I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.

I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30.

I think sometimes a narrative can come out of a single word.

I thought both she [Gypsy Rose Lee] and her story would be ill-served by a conventional, birth-to-death narrative, and so I structured the book like one of her stripteases: revealing a peek of shoulder, then a glimpse of knee, pulling back a bit before you go a bit further, until all is revealed at the end.

I think shows that have more of a narrative and are about what's going to happen next, those need to wrap up as a complete story. But it's weird when a goofy comedy show needs to end.

It is a great vehicle for storytelling, especially for a certain kind of exhaustively reported, painstakingly fact-checked, and beautifully produced narrative.

It’s easy to see why politicians would be drawn to the populist pose. First, it makes everything so simple. The economic crisis was caused by a complex web of factors, including global imbalances caused by the rise of China. But with the populist narrative, you can just blame Goldman Sachs.

It is the province of poetry to be more realistic and present than the artificial narratives of an outer discourse, and not afraid of the truthful difficulty of the average human life.